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20th Century Art History
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Slide 1
Robert Rauschenberg- Monogram 1955-59
He works between the gap of art and life.
He merge the aspect of painting and sculpture.
He often uses stuff out of dirt search his material on street.
Combination of oil, paper, fabric, printed paper, printed reproduction, metal, wood, rubber show heel, and a tennis ball on canvas with oil on Angora goat and rubber tire on wood platform mounted on four casters.
Slide 2
Andy Warhol, 100 Campbell Soup Cans
He stated that he use to drink them for 20 years and it dominated his life.
He was part of the pop art movement where artist use various aspect of popular culture in their work.
was painted by hand, assisted by stencils.
A close look reveals the fact that the cans are not identical, nor are they evenly spaced.
The bottom row is cut off, suggesting that they continue beyond the confines of the canvas, which leads to another aspect of the work—Warhol’s interest in machine-like processes such as mass production.
Mass production is impersonal, and America was becoming more and more depersonalized. But mass production is also efficient, and Warhol admired that efficiency.
He even said in 1962, "I want everybody to think alike. . I think everybody should be a machine."
Slide 3
Andy Warhol, A-Bombs
Depicts a mushroom cloud, repeated 28 times, in black and red colors.
Brighter and warmer at the top (the heat of the explosion? the blood?) but getting darker and darker as we reach the bottom of the painting, expressing, for some, the death and nothingness.
He got the image of the mushroom cloud from newspaper photographs and printed the image in repetition.
repetition serves to screen the real understood as traumatic.
Warhol’s intention might have been, perhaps because this particular theme, is too horrible; we are talking about mass destruction and the worldwide fear of extinction.
Slide 4
Richard Hamilton, Just what is it about today's home that makes it so appealing, so different?
Collage of commodities
On the top shown moon and sky as limits.
The living space is crowded with up-to‑the-minute objects of desire: the TV set, the vacuum cleaner, the tinned ham, the tape recorder, the body builder's muscles, the cone-shape coolie hat perched on the sexy naked housewife on the sofa.
His considerable ambition was to "get all of living" into his work.
Slide 5
There are two identical figures lying on institutional-issue, metal bunk-beds, one upon each bed. Each is shackled to the frame of his bed by a leather strap and wrist-cuff.
The motivation to create this piece, The State Hospital, came out of the actual experience of the artist. In 1947 Edward Kienholz began working in a mental hospital in Lake Medicine, Washington. The conditions that the inmates were subjected to effected him. He constructed this piece, in 1966, as a form of indictment of all such institutions.
Edward Kienholz wanted his art to function in the capacity of a social conscience. He wanted to create art that would make people reconsider the role of throw-away people in modern culture; to draw attention to the facets of society that are taboo.
Ed Klienholz, The state hospital,1966
Slide 6
Robert Morris, Untitled Note: see the mirrored cubes
He typically arranged these into ‘situations’ where ‘one is aware of one’s own body at the same time that one is aware of the piece’.
Originally the space between the boxes was equal to the combined volume of the 4 boxes.
Its industrial process with industrial material( highly polished stainless steel).
Slide 7
Dan Flavin, The nominal Three ( To william of Ockham)
Employing only commercial fluorescent lights in his work.
His main attention is important of space.
Flavin uses the minimum number of ordinary light fixtures to establish a series. The title pays tribute to William of Ockham, a fourteenth-century English philosopher who developed the philosophical principle still known as "Ockham's Razor" based on his maxim, "it is vain to do with more what can be done with fewer".
Slide 8
Eva Hesse- Contingent
Contingent is made of eight banner-like elements that hang from the ceiling.
Each of these elements consists of a large rectangular stretch of latex-covered cheesecloth embedded at each end in a translucent field of fibreglass.
The banners hang parallel to each other and at right angles to the wall.
Slide 9
Lynda Benglis, For Carl Andre
I felt I wanted to define for myself the organic phenomena; what nature itself would suggest to me in sculpture. — Lynda Benglis
It is made out of Acrylic foam.
A black, oozing mass from the artist’s famous series of poured sculpture—is visually one of the most peculiar pieces in the permanent collection.
Benglis makes an ironic and humorous homage to Andre in her work’s stark contrast to the Minimalist aesthetic.
Slide 10
Yoko Ono, Painting for the wind
Slide 11
Sol Le Witt, Arcs and Lines
From the simple straight line, in black pencil on a white wall, of his first wall drawings, to the luminous ink washes, exuberant swirls of color and final scribbled graphite works.
LeWitt developed, throughout his entire career, a body of wall works that thoroughly transformed and enriched the very definition of contemporary art.
The three wall drawings presented at Paula Cooper Gallery are such explorations of the drawn line. In the front gallery, two works composed of identical grids containing colored straight lines and arcs (Wall Drawings #392, #393) dialogue in counterpoint.
Slide 12
On Kawara, date Paintings
Known collectively as Today (1966–2013)
On Kawara’s Date Paintings record nothing more than the date on which they were made.
Kawara produced nearly 3,000 of them over more than four decades—the artist observed a strict set of rules, inscribing the exact date he created the painting in white letters and numbers on a monochromatic ground.
Slide 13
Art and Language, Index 01
Slide 14
Christo and Jean - Claude, Running Fence
18 feet (5.5 meters) high, 24.5 miles (39.4 kilometers) long.
The art project consisted of 42 months of collaborative efforts, the ranchers’ participation, 18 public hearings, three sessions at the Superior Courts of California, the drafting of a 450-page Environmental Impact Report and the temporary use of the hills, the sky and the ocean.
Running Fence was made of 2,152,780 square feet (200,000 square meters) of heavy woven white nylon fabric, hung from a steel cable strung between 2,050 steel poles (each 21 feet/6.4 meters long,
Slide 15
Walter de Maria, Lightning Field
The Lightning Field (1977), by the American sculptor Walter De Maria.
It is a work of Land Art situated in a remote area of the high desert of western New Mexico.
It is comprised of 400 polished stainless steel poles installed in a grid array measuring one mile by one kilometer.
It is two inches in diameter and averaging 20 feet and 7½ inches in height -- are spaced 220 feet apart and have solid pointed tips that define a horizontal plane.
Slide 16
Alice Ayocock, A simple Underground Network of wells and tunnels
A Simple Network of Underground Wells and Tunnels 1975/2011.
Concrete, wood, earth; Approximately 28' x 50' x 9' deep.
Permanently reconstructed at The Fields Omi/Architecture Omi, Ghent, NY.
It is a seminal work in the evolution of art in the landscape and has been extraordinarily influential in the evolution of installation art, landscape art and architecture.
Slide 17
Robert Smithson, Spiral Jetty
Robert Smithson's earthwork Spiral Jetty (1970) is located at Rozel Point peninsula on the northeastern shore of Great Salt Lake.
Using over six thousand tons of black basalt rocks and earth from the site, Smithson formed a coil 1,500 feet long and 15 feet wide that winds counterclockwise off the shore into the water.
In 1999, through the generosity of the artist Nancy Holt, Smithson’s wife, and the Estate of Robert Smithson, the artwork was donated to Dia Art Foundation.
Slide 18
Joseph Beuys, Coyate: I like America an America Likes Me
A master of compelling performance pieces, Beuys flew to New York, picked up by an ambulance, and swathed in felt, was transported to a room in the Rene Block Gallery.
The room was also occupied by wild Coyote, and for a period of 8 hours a day for the next three days, Beuys spent his time with the coyote in the small room, with little more than a felt blanket and a pile of straw.
While in the room, the artist engaged in symbolist gestures, such as striking a triangle and tossing his gloves to the coyote.
Slide 19
Judy Chicago, The Dinner Party
The Dinner Party is a monumental work of art, triangular in configuration, that employs numerous media, including ceramics, china-painting, and an array of needle and fiber techniques, to honor the history of women in Western Civilization.
An immense open table covered with fine white cloths is set with thirty-nine place settings, thirteen on a side, each commemorating a goddess, historical figure, or important woman.
The Dinner Party was exhibited in 16 venues in 6 countries on 3 continents to a viewing audience of over one million people.
Slide 20
Mary Kelly, Post- Partom Document
Post-Partum Document consists of six sections of documentation that follow the development of Kelly’s son, Kelly Barrie, from birth until the age of five.
Kelly intricately charts her relationship with her son, and her changing role as a mother by writing on artefacts associated with child care: baby clothes, his drawings, items he collects, and his first efforts at writing.
In addition, there are detailed analytical texts that exist in parallel to the objects.
Slide 21
Marina Abramovic, Rythm 0.
Rhythm 0 (1974) was a six-hour work of performance art by Serbian artist Marina Abramović in Studio Morra, Naples.
The work involved Abramović standing still while the audience was invited to do to her whatever they wished, using one of 72 objects she had placed on a table.
It began tamely. Someone turned her around. Someone thrust her arms into the air. Someone touched her somewhat intimately.
The Neapolitan night began to heat up. In the third hour all her clothes were cut from her with razor blades. In the fourth hour the same blades began to explore her skin. Her throat was slashed so someone could suck her blood.
Various minor sexual assaults were carried out on her body. She was so committed to the piece that she would not have resisted rape or murder. Faced with her abdication of will, with its implied collapse of human psychology, a protective group began to define itself in the audience. When a loaded gun was thrust to Marina's head and her own finger was being worked around the trigger, a fight broke out between the audience factions.
Slide 22
Sherrie Levine, Fountain (Madonna)
one of her appropriation artwork derived from Marcel Duchamp.
She uses bronze material to tribute the ready made artist Marcel Duchamp.
Displayed in Simon Lee Gallery, London, and Paula Cooper Gallery, New York.
made during 1991.
Slide 23
Le Corbusier, Villa Savoye
Robert NenOne of the most famous houses of the modern movement in architecture, the Villa Savoye is a masterpiece of LeCorbusier's purist design.
Located in a suburb near Paris, the house is as beautiful and functional as a machine.
After falling into disrepair after the war, the house has been restored and is open to the public.
Slide 24
Robert Venturi, Denise Scott Brown, JOn Rauch
Caption: : Best Product Company
Robert Venturi studied under leading Modernist architect, but eventually came to reject their reductive formalism and insistent on simplicity.
He published book call learning from Vegas: published in 1972 and eventually they got interest on pop art.
It is made from Porcelain-enameled steel.
Slide 25
Cindy Sherman, Untitiled Film Still #21
The American feminist artist Cindy Sherman (1954) is famous for the Untitled Film Stills series (1977-1980).
It consist of black-and-white photographs of the artist posing in different stereotypical female roles.
Although she poses for her photographs, Sherman’s pictures are not self-portraits in a traditional sense.
Modeling in several roles, she reveals gender as an unstable and constructed position, which suggests that there is no innate biological female identity
Slide 26
Barbara Kruger, Your gaze hits the side of my face
Barbara Kruger is interested not just in traditional forms of art, but also in expanding the possibilities for art and in understanding the limitations culture constantly places on art.
Kruger blends text with image to deconstruct the tenets of traditional art.
The image shows a photo of a classical female statue, the symbol of "beauty" in traditional art history, but undermines this interpretation by pointing out that the male gaze at the female object is an aggressive act that silences women from taking part in the discourse.
Slide 27
Richard Serra, Tilted Arc
Tilted Arc was a site-specific sculpture originally commissioned by the United States General Services Administration Arts-in-Architecture program for the Foley Federal Plaza in front of the Jacob K. Javits Federal Building in Manhattan, New York City.
it was removed in 1989 following a lawsuit.
Those who worked in the area found the sculpture extremely disruptive to their daily routines, and within months the work had driven over 1300 bureaucratic employees in the greater metro area to sign a petition for its removal.
Slide 28
Keith Haring, Berlin wall Mural
Keith Haring painted a mural that stretched for 300 metres along the infamous Berlin Wall.
For the iconic mural, Keith Haring painted his distinctive figures in the form of a human chain, interlocking their hands and feet to represent the unity of people against the Berlin Wall.
The mural was completed in the colours of the German flag, black, red and yellow.
Slide 29
Jean- Michel Basquiat, Horn Players
Arcylic and oilstick on three canvas panels mounted on wood supports.
A poet, musician, and graffiti prodigy in late-1970s New York, Jean-Michel Basquiat had honed his signature painting style of obsessive scribbling, elusive symbols and diagrams, and mask-and-skull imagery by the time he was 20.
Basquiat drew his subjects from his own Caribbean heritage
Slide 30
Chuck Close, self Portriat
By using a simple grid or tessellation shape, transfer a self-portrait from a black and white photograph to large sheet of illustration board
Overall outcome as highly pix elated digital photographs.
He was renowned for his highly inventive techniques of painting the human face, and is best known for his large-scale, photo-based portrait paintings.
In 1988, Close was paralyzed following a rare spinal artery collapse; he continues to paint using a brush-holding device strapped to his wrist and forearm.
By using a simple grid or tessellation shape, transfer a self-portrait from a black and white photograph to large sheet of illustration board
Slide 31
Gerhard Richter, Barn No. 549/1
His works are often influence from natural.
Slightly blurry painting.
He works on both photography and painting.
Even his abstrat painting looks like Photographics.
He is try to convey a passage of time through this painting.
Slide 32
Anselm Kiefer, Department from Egypt
Slide 33
Jeff Koons, Michael Jackson and bubbles.
The life-sized porcelain sculpture depicts the American singer-songwriter Michael Jackson leaning back on a flower bed.
On his lap reclines his domesticated chimpanzee Bubbles who clasps a white cloth.
It was created in 1988 within the framework of his Banality series.
The life-sized porcelain sculpture depicts the American singer-songwriter Michael Jackson leaning back on a flower bed.
Slide 34
Damien Hirst, The Physical Impossibity
he was an English artist and a leading member of the "Young British Artists"
It consists of a tiger shark preserved in formaldehyde in a vitrine.
The shark itself cost Hirst £6,000[4] and the total cost of the work was £50,000.
The British tabloid newspaper The Sun ran a story titled "£50,000 for fish without chips.
Slide 35
Yinka Shonibare, Girl/Boy
Slide 36
Felix Gonzales- Torres, Untitled(portrait of Ross in L.A)
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